LEADER 02991cam a2200337 i 4500003    hubpceuo
005    20180620131510.0
007    ta
008    160511s2017    maua     b    001 0 eng  
010      2016021254
020    9780262035521 (hardcover : alk. paper)
040    DLC |beng |cDLC |erda |dDLC
042    pcc
050 00 N4395 |b.V66 2017
082 00 708 |223
100 1  Voorhies, James Timothy, |eauthor.
245 10 Beyond objecthood : |bthe exhibition as a critical form since 1968 / |cJames Voorhies.
260    Cambridge, Mass. : |bMIT Press, |c2017.
300    ix, 275 pages : |bchiefly color illustrations ; |c25 cm
337    unmediated
504    Includes bibliographical references and index.
520    	
In 1968, Robert Smithson reacted to Michael Fried's influential essay "Art and Objecthood" with a series of works called non-sites. While Fried described the spectator's connection with a work of art as a momentary visual engagement, Smithson's non-sites asked spectators to do something more: to take time looking, walking, seeing, reading, and thinking about the combination of objects, images, and texts installed in a gallery. In Beyond Objecthood, James Voorhies traces a genealogy of spectatorship through the rise of the exhibition as a critical form--and artistic medium. Artists like Smithson, Group Material, and Michael Asher sought to reconfigure and expand the exhibition and the museum into something more active, open, and democratic, by inviting spectators into new and unexpected encounters with works of art and institutions. This practice was sharply critical of the ingrained characteristics long associated with art institutions and conventional exhibition-making; and yet, Voorhies finds, over time the critique has been diluted by efforts of the very institutions that now gravitate to the "participatory." Beyond Objecthood focuses on innovative figures, artworks, and institutions that pioneered the exhibition as a critical form, tracing its evolution through the activities of curator Harald Szeemann, relational art, and New Institutionalism. Voorhies examines recent artistic and curatorial work by Liam Gillick, Thomas Hirschhorn, Carsten Höller, Maria Lind, Apolonija Šušteršič, and others, at such institutions as Documenta, e-flux, Manifesta, and Office for Contemporary Art Norway, and he considers the continued potential of the exhibition as a critical form in a time when the differences between art and entertainment increasingly blur.
650  0 Art |xExhibitions |xHistory |y20th century.
650  0 Art |xExhibitions |xHistory |y21st century.
650  0 Art exhibition audiences.
942     |2ddc |cBK
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920 01 2XbK3KYz
992 01 708_000000000000000_VOO |bSZR_ZZZZZZZZZZZZZZZ_4BB
966     |cIn the Research Room